Roberto Alagna

MASCAGNI L'amico Fritz Alagna Veronesi 4778358

This is a delight . . . [The performance] is just about ideal . . . [Alagna & Gheorghiu] are happily in their element here: Alagna is in open, confident voice, while Gheorghiu is all coy charm and grace. They are strongly supported by Laura Polverelli as a gipsy and George Petean as the rabbi who challenges Fritz to find a wife. Alberto Veronesi is a light-fingered conductor, and the orchestral playing is superb.

. . . chief must be ranked the exceptional beauty of Angela Gheorgius's voice. Her first solo, "Son pochi fiori", wins all hearts at once, while her expressive powers command both the sadness of "Non mi restar che il pianto" and (a rarer blessing) the smiling happiness of the famous duet in Act 2 . . . [Roberto Alagna]: he can soften and sweeten, and always sings with feeling . . . George Petean sings pleasantly . . . Alberto Veronesi conducts sympathetically, and the orchestra and chorus are a credit to the house.

Record Review /
John Steane,
Gramophone (London) / 01. December 2009

Veronesi leads a convincing interpretation of Mascagni's opera, whether it be the gentle pages of Act 1 or the realized passion of Act 3 . . . Firm tone has always been one of Gheorghiu's many attributes . . . Her voice, fresh and lovely, can be enjoyed at every level of its volume, but listen carefully to her ravishing account of "Non mi resta" in the final act, for some gorgeous diminuendi enhance an aria which begins "Nothing is left me but tears and sorrow" . . . Roberto Alagna gives an enjoyable presentation, be it Fritz scoffing at David's prediction that he will one day get married, communing in friendly fashion with Suzel or exulting in their mutual declaration of love.

Record Review /
John T. Hughes ,
International Record Review (London) / 01. December 2009

Mascagni's "L'amico Fritz" comes over as not merely charming but profound in this live account . . . Gheorghiu counters Freni's fresh-faced approach with her own richer palette of vocal colours and a there's warmth and vulnerability to Alagna's Fritz that suggests a more mature personality than Pavarotti's almost boyish ingenuousness, wonderfully voiced as it is . . . Veronesi's way with the piece has a naturalness that nevertheless seeks out its distinctive character -- a passage such as the rhapsodic offstage violin that introduces Beppe can sound merely picturesque, but registers here as spell-binding.[074 1039]: The whole show takes its tone from Alagna's lovable Nemorino.

Record Review /
George Hall,
BBC Music Magazine (London) / 01. January 2010

. . . [Gheorghiu] proves to be heavenly in it from start to finish. Alagna nicely captures Fritz's emotional uncertainties and collapsing self-delusion . . . [George Petean] is the amused, avuncular cross-patch of a rabbi, and there's marvellous conducting from Alberto Veronesi. It's real feelgood stuff, and the perfect antidote to those January blues.

Record Review /
Tim Ashley,
The Guardian (London) / 14. January 2010

Alagna and Gheorghiu . . . are in representative form here. He maintains his sunny tone and open-throated approach . . . Suzel's first aria, "Son pochi fiori" is very touching, as Gheorghiu's dusky timbre possesses an inherently moving melancholy . . . Fritz's big aria, "O amore, o bella luce del core," receives a passionate reading . . . Conductor Alberto Veronesi is clearly fond of this piece, and it is given an affectionate reading by him and the Deutsche Oper forces.